Compositions and Arrangements for the Organ

Frederic Lux
1873 The Musical Times and Singing Class Circular  
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more » ... -DECEMBER I, I873. THE MUSICAL TIMES. -DECEMBER I, I873. THE MUSICAL TIMES. -DECEMBER I, I873. difficulty's solution, his immaturity is proved by his givins way to it. There is also to notice of this piece that its chief melody should have begun upon the half instead of the full bar, when, besides having the true musical accentuation, it would, we think, have given a better emphasis to the words. Another Recitative for tenor, " But as many as received Him," introduces a Chorus, "Which were born not of blood;" this is a piece for eight voices, an indispensable incident in a Doctor's exercise, but the several parts are more employed in alternation than in combination, a device by which the music is greatly animated, but the composer's power of part-writing little tested. No. 6, the final piece, is a Chorus, " And we beheld " preceded by a soprano Recitative " And the word was made flesh ;" herewe have the inevitable fugue which proves the contrapuntal qualifications of a candidate for University honours, and it is a good specimen of scholarship; as a whole, the Cantata is certainly to be commended. It would be presumptuous to judge of the orchestration from the pianoforte copy, but the signs this presents show the composer to have some good ideas of effect. There are times and places in which this work would be welcome, and we recommend it to the attention of persons who control such occasions. SCHOTT AND CO. Cossltositiowls aszd Arrangements for the Orgasz. By Frederlc Lux. ORGAN students who have visited Germany speaklargely of the writers for their instrument who are at present active in that country, and Dr. Spark has done much to make us stay-at-homes acquainted with the merits of some of these, by the inclusion of some of their compositions in his OrgZzist's Qlca7ttcrly youlzal. Some more than ordinary interest is excited, then, by the receipt of a number of pieces from the land most famous in old times and in new for the development of the organ, bearinv the name of an author that is RZholly unfamiliar-excited but not fulfilled. Our first consideration is, as to what demand these pieces by Herr Lux can supply in any country where the organ has not a very different regard and different use from those which it holds in England. To speak most broadly, they are in form and in merit to be compared with the more difficult writings for the pianoforte of such musicians as Hunten and Burgmuller. Now, players rvhose aspiration and content soars to and rests upon music of this calibre srould, we believe, rather represent it on the pianoforte than the organ, finding sufficient exercise for their wits in the exercise of their fingers, and having small interest in the draxving of stops, and finding an incumbrance in the free pedal part, svhich to them increases more the difficulty than the eSect. Tlle music is totally out of the range of church use * very few chamber orfflans are sufiRciently extensive to yield all the varieties of tone it requires; and for concert performance-a somewhat contradictory definition of ^rhat is intended for a solo instrument svhich is not to be concerted with any othersit has scarcely enough charm to svin an audience, nor enough display to satisfy an executant. Our next consideration must be as to the matter and form of these several specimens of our nev author. The Mo?tceazxx slc CO?tCGYt SllY lA priLt>re de Robis:z das Bois is an introduction and variation on that melody in Agathe's grand scene in " Der Freischutz "-how stranfflely the title of the opera is distorted in its Frenchified form !-of which the phrasing has been ruined in Enland by the false punctuation of our popular version of the words-" Softly, sighs the, Voice of evening."
doi:10.2307/3354454 fatcat:dp7w5z756rh3fliolr4nsr3eum